It is ironic that even though Washington is not generally considered a major theater town like New York or Chicago, there is no shortage of production companies here. (Indeed, some would say there is a glut.)

 

Of the 60-plus professional theatrical groups in the D.C. area, none has a better track record of consistent quality than the Keegan Theatre. Since 1997, its repertoire has consisted of an intriguing blend of contemporary and classic plays.

 

Keegan’s latest offering is no less than the finest achievement of one of America’s best playwrights: Tennessee Williams’ “A Streetcar Named Desire.” Powerfully directed by Eric Lucas and Mark A. Rhea, this is a dynamo with enough energy and passion to blow away memories of previous productions of this play, including the 1951 film version that starred Marlon Brando repeating his Broadway role.

“A Streetcar Named Desire” is the story of Blanche DuBois (Kerry Waters), a middle-aged Belle who would be right at home in the pre- Civil War South, but seems tragically anachronistic in the New Orleans tenement, circa 1947, that the play is set in. Having left her hometown under mysterious circumstances, Blanche seeks refuge with her sister, Stella (Susan Marie Rhea).

 

When Stella’s husband, redneck factory worker Stanley Kowalski (codirector Rhea), meets Blanche, it’s a case of hate at first sight. Whenever the two of them interact, they invariably bring out the worst in each other. The showdown between them takes place on the fateful evening when Stella is in the hospital giving birth. Blanche’s grasp of reality has always been fragile, but when Stanley brutally rapes her (“We’ve had this date with each other from the beginning.”), it is shattered beyond repair.

 

As is typical with Keegan, the acting is beyond reproach. Waters and Rhea are both heartbreaking as the sisters subjected to Stanley’s macho tyranny. Co-director Lucas provides outstanding support as Mitch, a lonely bachelor who is smitten with Blanche until Stanley cruelly exposes her past.

 

Anyone who tackles the part of Stanley must compete with the specter of Brando’s original, surely one of the most iconic performances in the history of theater. However, Rhea matches Brando and makes the role his own. Although he is described as an ape, Rhea’s Stanley is sly and serpentine, making it clear that Blanche’s biggest mistake is underestimating her brother-in-law.

 

Matt Rippetoe has composed a haunting original jazz score for the production. Kudos also to George Lucas’ set and Carol H. Baker’s props. (The décor in Keegan’s shows always look like they were lifted straight out of a time capsule.) All in all, Keegan’s “A Streetcar Named Desire” is live theater at its absolute best. -Doug Krentzlin

 

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